EMART 10ft Heavy Duty C Stand with Boom Arm 100% Stainless Steel-2 Pack
EMART builds photography backdrop stands, background support and the lights that stand beside them.
Adjustable Photography Light Stand with Holding Arm and Grip Heads Kit for Studio, Monolight, Reflector, Parabolic Softbox
4.5 43 reviews
$20999
In Stock
We keep our 10ft Heavy Duty C Stand with Boom Arm 100% Stainless Steel-2 Pack in the range because most shoots need one dependable frame, not five clever ones.
The build runs to stainless steel, which keeps the weight sensible without giving up on the joints. You also get a heavy-duty build and a folding frame. Specifications here are read straight off our own listing — no rounding, no best case.
Key features
- Wide Application. Applicable to most photographic equipment, such as photography reflector, umbrella, monolight, backdrops and other photographic equipment
- Adjustable & Stable. Adjust from 5 ft/150 cm to 9.8 ft/300 cm. The center stand has built-in buffer spring, which can reduce the impact of sudden fall of the installed equipment and protect the equipment when adjusting the height
- Heavy-Duty Stand& Versatile Function. This photography C-stand made of high-quality stainless steel, the C-stand with refined design serves long-lasting durability for supporting heavy-duty photographic gears
- Sturdy Turtle Base. Our turtle base can increase stability and prevent scratches on the floor. It can easily load sandbags and Its foldable and detachable design is easy for transportation
- Extension Arm. Holding arm length is 4.2 ft/128 cm. Equipped with 1/4” and 3/8” screws at both ends, the extension arm can mount most photographic accessories with ease. Grip heads enable you to keep the arm firmly in place and set different angles effortlessly
Specification
| Material | Stainless steel |
|---|---|
| Reviews on the listing | 43 |
Where it sits in the range
EMART spring-cushioned light stands, heavy-duty C-stands with boom arms, reverse-folding tripods and phone stands for photography on location.
Where it earns its place
Height is the specification people regret. For a seated portrait the key wants to be a little above eye level with room to angle down; for background support, match the stand to the backdrop you already own rather than the other way round.
What size EMART backdrop stand this suits
Size is a room problem before it is a shopping problem. Take the wall you shoot against, measure across it and subtract a foot at each end for the legs — the rest is what the frame can accommodate once it is open. Then decide height, because that is the figure people change their mind about the moment the subject stands up: seven feet suits seated work, full-length needs the sections fully expanded so the top edge of a white, black, green or seamless muslin surface never appears. Leave space between the subject and the surface too; stood directly against it, a face picks up every mark behind it. A small room rewards a little extra span, which is where an additional panel or a prop goes. In general, choosing one size up is the cheaper mistake.
Setting it up
Setup is hands only. The sections are telescopic, so you assemble it by pulling up and locking rather than by counting parts, and the adjustable collars let you stop anywhere between the stops. Mounting uses the standard fitting for this type of gear, so it mates with what is already in your bag, and it goes up quickly enough to do alone. The legs open wide, and that width is the stability — not the thickness of the tube. Position the base so nobody kicks a foot, and add weight at the feet whenever the load is heavy or people are moving across the room behind the frame.
Clamping, hooks and the crossbar
Hang the surface a little narrower than the crossbar so it has something to pull against. A spring clamp secures each corner, hooks carry the middle, and that clamp will just as happily hold a light modifier or pin a cable to a tripod tube when the kit outgrows the room.
Bag, case and care
It packs into the carry bag it arrives in — a portable, collapsible package small enough to live in a car boot between shoots, which is the only way gear gets used weekly. The quality worth paying for is boring: metal collars that still grip, a design with no part that only works while new. Aluminum keeps a pro kit portable, heavier metal makes it durable, and durability on gear like this is an argument about joints. We would rather sound dull than claim an excellent finish. Care is minimal: wipe the sections, keep the clamps in the same bag, store it dry. Roll fabric rather than folding it and a wrinkle stops being something you plan around.
